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In 2007, German director Florian Henckel von Donnersmarck’s feature debut, .com/articles/07/NW0700123.php>The Lives of Others, surprised everyone (or at least those who hadn’t seen it) by beating Pan’s Labyrinth and taking home the Oscar for Best Foreign Language Film. The beautiful and chilling drama was definitely deserving of its award—and it left me eager to see what this talented director would do next.
In his follow-up, The Tourist, von Donnersmarck goes commercial, trading quiet drama and subtle suspense for slick action and Hollywood superstars. But while it isn’t the masterpiece that fans of The Lives of Others might be expecting, it’s still one stylish adventure.
Johnny Depp stars as Frank Tupelo, a mild-mannered math teacher from Wisconsin who meets a beautiful mystery woman named Elise (Angelina Jolie) on the train to Venice. As they travel, Frank enjoys Elise’s company, not knowing that he’s only a decoy. Elise wants Scotland Yard to believe that Frank is actually Alexander Pearce, a wanted criminal—and the man she loves.
Scotland Yard’s Agent Acheson (Paul Bettany) soon discovers that Frank is nothing but a clueless American tourist—but when his picture is leaked to Pearce’s most powerful enemy, Frank suddenly finds himself in serious danger. Still, he refuses to leave Venice—because he’s fallen in love with the mysterious woman who’s responsible for his unexpected adventure.
Now, before we go any further, let’s start by talking about what The Tourist is not. The Tourist is not The Lives of Others. So if you’ve seen von Donnersmarck’s Oscar-winning debut—and if you’re expecting more of the same from The Tourist—you’re destined for disappointment. The Tourist lacks its predecessor’s subtlety and simplicity—not to mention its skillful plotting. It’s an entirely different film—so it’s best just to enjoy it for what it is instead of criticizing it for what it isn’t.
The Tourist, then, is more holiday popcorn flick than Oscar contender. It’s slick and mysterious, with irresistible stars and a stunning setting. In fact, it often feels like a classic James Bond film—with its over-the-top score, its luxurious style, and its striking locales. From the cafés of Paris to the canal boats, casinos, and ballrooms of Venice, it’s a beautiful cinematic journey.
Meanwhile—also just like a classic Bond film—there’s nothing subtle about it. The bad guys are blatantly villainous, and the good guys are unwavering in their mission. Even the performances are far from subtle. Jolie is the model femme fatale, with her elegant wardrobe and hair that always looks perfect—even after a high-speed boat chase. She’s dark and mysterious, and you can always expect her to do the unexpected. Depp, on the other hand, seems entirely out of place. It’s obviously an intentional move—and if anyone can play the lovably awkward outsider, he can (think Edward Scissorhands…and a handful of others)—but he often overplays the Clueless American Tourist act, and the act gets a bit old after a while.
The film certainly has its flaws—its cheesy scenes and its missteps—and it certainly isn’t as brilliant as The Lives of Others. But The Tourist is still a light and entertaining journey. And it’s just what the doctor ordered after another long day of holiday shopping.
